Tchaikovsky (1970)

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Tchaikovsky (1970)

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Tchaikovsky (1970)

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When making a biopic, a director often must walk a tightrope between bare facts and plain fantasy, as well as between idolizing the topic and tearing him down. Tchaikovsky, as one of the most notably tormented souls of the 19th century, is an intriguing subject for a biographical film, but director Igor Talankin gives the music of Tchaikovsky center stage here, offset against select moments from Tchaikovsky's life.

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Tchaikovsky (1970)

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Talankin does not even attempt a straight biography. Rather, the film is presented in the form of vignettes. After a brief scene of Tchaikovsky's childhood, emphasizing his love for the piano and attachment to his mother (who died when Pyotr was 14), we skip ahead to the adult Tchaikovksy (Innokenti Smoktunovsky) after a bizarre sequence with his servant, Alyosha (Yevgeni Leonov). The uneasy friendship with Nikolai Rubinstein (Vladislav Strzhelchik) is established. Pyotr then, for reasons impossible to discern from the film, marries a brainless young woman from the conservatory with predictably disastrous results. The balance of the film centers on the peculiar relationship between Tchaikovsky and his patron, Natalia von Meck (Antonina Shuranova). Over thirteen years, they exchanged letters and she essentially supported him, yet he refused to even meet her. This much I know is true, but the film sets this up as a ploy by the jealous musician Pahulsky to keep von Meck away from him. I have no idea whether this angle of the story is true, but it does lend the picture what little drama is present. Tchaikovsky is portrayed as inexplicably depressed and miserable throughout, except when he thinks about the music he has yet to compose.

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Tchaikovsky (1970)

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Perhaps Russian audiences already know the life story of Tchaikovsky quite well, but anyone not familiar with him as a man is likely to be quite at sea here. Characters appear, are never properly introduced, so that we have no idea who they are or what relationship they have to anyone else, and then they vanish. This certainly leads to a rather confused viewing experience, at least the first time through. As noted already, the emphasis here is really on the music. This is artfully used, though since Russians think of Tchaikovsky as an operatic rather than a symphonic composer, his operas get much of the attention. But there is still plenty of suitably dramatic and moving music to propel matters along, even if the viewer has only the vaguest conception as to who the people on the screen are. The one rather hackneyed moment is a thunderstorm metamorphosing into a symphonic movement.

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Tchaikovsky (1970)

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Although Tchaikovsky was reputedly a warm and forthcoming individual, Smoktunovksy portrays him as incredibly stiff (though in watching the featurettes, I suspect that he may simply be trying desperately to keep from losing his toupee and fake spade beard). The supporting characters are more convincing, notably Shuranova, who renders the difficult part of von Meck believably, torn between appreciation for art and an unrequited long-term crush on the man she never even meets. Vladislav Strzhelchik is quite good as Rubinstein, but the real gem of the piece is the servant Alyosha (comedian Yevgeni Leonov), who is both hapless and eternally faithful to the composer. The scene of Alyosha attempting to relate the story of Eugene Onegin to the composer is a little gem that's one of the outstanding moments of the picture.

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Tchaikovsky (1970)

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Oddly enough, the film completely sidesteps the issue of the composer's homosexuality. This omission makes many of his actions completely incomprehensible here (though they are difficult enough to fathom even knowing the situation). Likewise, Tchaikovsky's death is glossed over without any conjectures at all as to whether there is any truth to the story of his suicide by drinking cholera-infected water, or the rumors of a politically-motivated suicide. Instead, there is simply an intertitle that states without elaboration that he died eight days after the concert that is the climax, such as it is, of the picture. Again, those unfamiliar with Tchaikovsky's life and death are likely to be completely lost here.

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Tchaikovsky does not have a solid narrative thread to carry it; rather, it is best thought of as an Impressionist interpretation of the composer's life. There's plenty of excellent music, however (the more saccharine compositions are thankfully kept well in the background). There are moments that are absolutely magical: one of these is the carriage running through a forest of birch trees, on a carpet of orange leaves. The visual of this brief sequence is utterly jolting, even though it's just a carriage ride. Similarly, there is a bold 360-degree shot of all the parties at a table laughing at Tchaikovsky as he tries unsuccessfully to silence his idiot wife. This moment, like no other in the picture, makes one feel truly close to the composer. These are just a few of the truly stunning moments to be found here.

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Starring the remarkable Innokenti Smoktunovsky in the title role, this film is completely unlike the Ken Russell debacle 'The Music Lovers.' Talankin's film is absolutely breathtaking in its fidelity to the story of the composer's life as I know it from numerous sources. The resemblance of Smoktunovsky to Tchaikovsky is striking and it's very easy to suspend disbelief and imagine one is watching the composer himself – and in color!

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The film doesn't try to go far afield from simply telling the facts of the composer's life, but then it really doesn't have to: the true story is vastly interesting. Brought to life splendidly are Nadejda von Meck, the Rubinsteins, Hermann Laroche – all those characters familiar from the musical life of Russia in the late 19th century. Executive Producer Dmitri Tiomkin returned to Russia to arrange and conduct the soundtrack before such cultural exchanges became commonplace. Tiomkin's work with Tchaikovsky's music is respectful and also highly creative at the same time. While 'Tchaikovsky' is certainly not as fanciful as Hollywood or Ken Russell it's all the more rewarding for it.

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I will remember this movie all my life.I watched it twice on the 80s in a movie club.One with my friends and the other with my dad,a real fan of Tchaikowski as myself.Two days in a row because it was so moving,so wonderfully made,I had to watch it again.I wonder why I didn't find it on cable in all these years! All the biographical musical movies are better made out of Hollywood ,I must say.Hollywood is too much show and fantasy,but this version of Tchaikowski's life is so close to his actual history you can't help to believe you are actually watching Piotr Yllich living his life than an actor playing a part. I will always keep in my mind the scene beside the water where he was writing the 4th Symphony in the times of Nadezhda Von Meck,his benefactor.So poetical,so deep and without words.Only music and a beautiful sight.Great photography!If you didn't watch this movie,do.If you like Tchaikowski,you won't regret it.

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Special Features:
DISC ONE:
- Maya Plisetskaya: documentary (10:30, in Russian with English/French/Dutch/Spanish/Italian/Chinese Subs)
- Innokentiy Smoktunovskiy: documentary (05:29, in Russian with English/French/Dutch/Spanish/Italian/Chinese Subs)
- Filmographies
- Photo album

DISC TWO:
- Peter Ilich Tchaikovsky: documentary (11:50, in Russian with English/French/Dutch/Spanish/Italian/Chinese Subs)
- Margarita Pilikhina: documentary (00:59, in Russian with English/French/Dutch/Spanish/Italian/Chinese Subs)
- Filmographies
- Photo album